Old Tile

Old Tile painted with a classical Botticelli female figure

Vapour Releaser in ceramics

A vapour releaser in ceramics with galvanize table and saucer

At the Opera

At the Opera, Women Singing 1

Night Dreaming

Night Dreaming with Umbrella

Women chatting

Woman Chatting and Reading at Tea Time

Mirror and antique frame

Mirror and antique frame with "grottesco" design

Women, the Moon and a Cat

Women, the Moon and a Cat

Vocal Melody

Women: Vocal Melody

Women at Night

Women at Night

Women, the Confidence

Women the Confidence

Woman with birds

A woman with birds, a cat, dolls and flowers

Spatial Glare 1

Spatial Glare 1

Spatial Glare 2

Spatial Glare 2

Spatial Glare 3

Spatial Glare 3

Spatial Glare 4

Spatial Glare 4

Spatial Glare 5

Spatial Glare 5

Spatial Glare 6

Spatial Glare 6

Spatial Glare 7

Spatial Glare 7

Spatial Glare 8

Spatial Glare 8

Spatial Glare 9

Spatial Glare 9

Spatial Glare 10

Spatial Glare 10

The Ceramic Pot

The Ceramic Pot

High Heels

High Heels

Lobed tureen with cover

Lobed tureen with cover and on either side hand painted handles. The object used the "Ricco Deruta" motif with floreal design on a light blue background

Beautifully painted large dish with the "swans" motif

Beautiful large dish depicting in the central area two swans that result from the "grotesque" design. In the tradition of Deruta these swans were later changed to look as two dragons

Ceramic mirror in grinded glass and with a woodworm infested like frame

Ceramic mirror in grinded glass and woodworm infested like frame. The frame is composed of 14 ceramic slates and 4 corner slates. Each slate is decorated in "raffaellesco" style. Corner slates with a "mascherone" (Italian mask)

Hanging Dish. Reproduction from the Botticelli's "Le 3 Grazie (3 Graces)

Hanging Dish. Reproduction from the famous Botticelli's painting "Le 3 Grazie (3 Graces)", the rim painted in the traditional Deruta decoration "Grottesco"

Hanging Dish. Reproduction from the "Puttini" of artist "Il Perugino"

Hanging Dish. Reproduction from the "Puttini (little angels)" of world famous artist "Il Perugino" with classical "Delfini (dolphins)" rim decoration

The Adoration in the Snow, 1567 (Dr. Oskar Reinhart Collection, Wintherthur, Germany)

It is believed this may be the first painting ever to actually show snow falling. Although snow must have been common in the cold XVI Century winters, the main representations at the times were figures from church related subjects rather than natural events.  The representation of the Adoration in a northern imaginary environment, - the same technique also used in his Bethlehem painting - rather than the typical Palestine scenery, shows the geniality of Bruegel at its best.

Bruegel seems to put things into prospective with this representation challenging the church's thinking with minor but significant changes in details. Note how the important Adoration (left side of the painting) is just a happening amongst many and it does not attract the immediate attention of the observer. Bruegel's use of the diagonal technique eventually brings the eye to the mother and child but not before passing through peasants carrying out a number of chores and a child crossing the frozen river in a sledge. This lowers the importance of the birth of Christ to almost the ordinary highlighting the human nature of the main event.

The Fall of Icarus, 1558 circa (Musée Royaux des Beaux Arts, Brussels, Belgium)

Disregarding the advice of his father Dedalus, the young Icarus flies high towards the sun as to challenge the gods that live there. The wax that’s holding his wings melts as he approaches the celestial body and the young boy falls to his death, according to legend, in the sea Icarius near the Greek island of Samo.

In modern times Icarus has been a favourite subject for artists but Bruegel, who was building his fame on the depiction of human stupidity and frailty, was the first to use the fable in a painting. Consider the strong morale of the story overstressed by the indifference to the drama shown by the main figures in the picture, all larger and more overwhelming than the young boy. The observer is immediately attracted to the farmer in the front, the shepherd down the hill and the fisherman rather than the boy drowning and all are more occupied with their daily labour than with the accident happening in the distance.

This painting offers a magnificent, powerful and imaginative view of a combination of landscapes, merchant traffic, city development and peasant work. A reminder of his trip to Italy adapted to an imaginary Greek/Flemish background.

Peasants' Dance, 1568/69 (Kunsthistorisches Museum, Vienna, Austria)

Of the same size (114 * 164 cm, 45 * 65 inches) as the “Country wedding”, the Peasant Dance takes us into a moment of village celebration. These moments of relaxation must have been rare in the XVI Century. You can see the couple right in the foreground running to join the feast which is opened up by two couples with a traditional dance.

In the background, a man is almost forcing her reluctant partner to come out in the open whilst a number of onlookers seem to be cheering on. On the left side a child is dancing with her sister (or mother) and high up a man seems to try to reach out to a passer by (or a friend) with such impetuosity that he hits in the face his probably drunk companion sitting to his right.

This is Bruegel’s second large-figured painting and one that is powerfully entwined with Netherlandish village life flavour. It does not introduce, as many of Bruegel's masterpieces do, imaginary “paysages” or far-away landscapes and country settings. It is a direct representation of peasant life, XVI century clothing, colours and human joy and frailty. Note the unifying strength of the scenes that show Bruegel’s deep understanding of Italian renaissance compositional principles.

The Return of the Herd, 1565 (Kunsthistorisches Museum, Vienna, Austria)

Note how this representation contains most of the elements contained in "Gloomy Day" another canvas part of the same series of six paintings depicting the seasons.

If Gloomy Days tells the beginning of spring, as is likely, then the Return of the Herd tells of late autumn, probably November, when the herd is being assembled and taken home for the winter months. The presence of the master in heavy clothes, riding on a horse whilst the peasants drive the herd towards the village and the storm that gathers strength on the right hand side of the landscape reinforce this message.

The landscape used in this painting is clearly inspired from the Alps. The steep hills, the mountains in the background, the river running diagonally across the painting and ending in the distance. In fact, were it not for the cows that have no bell hanging from their neck, it would remind us of Switzerland through which the artist surely passed when returning from Italy.

It is a painting that tells much about the narrative genius of Bruegel in days when only the lucky few could travel and visit distant lands.

The Harvesters, 1565 (Metropolitan Museum, New York, USA)

The four seasons are often a subject treasured by artists. Bruegel depicts here a moment of hard work but also reward in the life of the peasant. He often made use of the diagonal technique for creating dramatic landscapes that fall into one another and unfold in the distance. Few of his paintings are as dramatic as this with people eating and resting in the foreground, a mother nursing the child, the stacks of hay drying in the sun, peasants working the field and women walking back and forth to the animated village in the background . You can imagine the time of the year to be late June, harvesting time, when the fields assume the calm, peaceful yellowish colour of mature hay and the sun illuminates forests and fields.

With this painting Bruegel moralizes on life, its difficulties but also rest following a hard day’s work. The church, almost omnipresent in Bruegel's work but here unlikely placed in the middle of the forest, is a reminder to viewers that God looks upon them at all times.

Note the typical Low Countries landscape in the very background on the left; a subject that will be taken up in countless Dutch and Flemish paintings in the following centuries.

A Gloomy Day, 1565 (Kunsthistorisches Museum, Vienna, Austria)

It is more likely a stormy day of early spring than a day of late autumn given that a man in the foreground appears to be pruning a branch off a tree. However, the tree stumps on the ground, people gathering wood and the mountain in the background - which seems to be void of snow - could just make it for a late autumn representation.

Whatever, the stormy seas, the dark colours used almost throughout the painting, except in the top left hand corner - where the mountains seem to be depicted in their usual Bruegel style -, and what appears to be an approaching storm anticipated by very heavy seas, makes it for a very gloomy day and hence the title.

In the foreground children bring water to workers whilst others, in the lower left hand corner, attend to their daily chores.

This complex beautiful representation, part of the season's series, seems not to hinting to any morale story, just the sort of ordinary XVI century life, made of hard work and pain, which earned the master the name of "peasants painter".

The Canal Grande between Palazzo Bembo and Palazzo Vendramin Calergi (After 1730, Woburn Abbey Art Gallery, Woburn, UK)

This painting is one of a series of 22 views of Venice's canals and buildings commissioned to Canaletto by the Duke of Bedford.

Aside from the duke, most well-off visitors wanted to preserve their memories of their happy times in Venice and did not disdain to pay substantial sums to have their views revisited.

Canaletto's imposing mix of water, sky and buildings is taken up by the ceramic artist as a challenge. He faithfully reproduces the canvas giving the table lamp a personal touch and a shine that can only be the distinctive signature of one of the top ceramists in the world.

Campo San Polo (circa 1739, Private Collection)

Canaletto gave its best inprint to this painting that, together with others of the same period, show him at its very best.

Campo San Polo is the largest square in Venice. It was, in the past, a place for meetings of the populace, feasting and bull hunts. Canaletto here concentrates on open spaces, and daily activities leaving the church to the left with almost nonchalance. He depicts famous palaces such as the Bernardo-Maffetti-Tiepolo and the gothic Soranzo (which brings forward memories of Francesco Casanova).

It is unfortunate that we can not bring to your home, materially, the lamps in these collections and let you admire their beauty and the warmth they have when lit up. Cool photography, however precise, somehow detracts from the feeling you get when you see and handle these modern works of art. And this piece is a work of art; place it anywhere and it will light up a whole room, attracting only positive comment.

A capriccio with an imaginary Rialto bridge and other buildings (after 1744, National Gallery, Parma, Italy)

This is one of the capriccios that were prepared for Smith, the art merchant who was Canaletto's mentor.

Most of the buildings are imaginary although the one on the immediate left looks like the St. Angel's Castle in Rome. Canaletto lived in Rome in his early professional years. The "Rialto" bridge is totally redesigned; Canaletto may have wanted to build an ideal town, mixing existing and non existing buildings. Capriccio's paintings can not be dated exactly as landmarks are not easily traceable.

As is the case throughout this collection, the ceramics master reproduces the painting with extreme care using colours that are just beautiful and that well compare with the original painting (our master viewed some of Canaletto masterpieces and studied his work before undertaking this task). It must be considered that some of Canaletto canvasses have lost their original shine after 400 years.

Sluice doors at Dolo (1727, Ashmolean Museum of Art and archaeology, Oxford, UK)

The sluices of Dolo is one of the first of Canaletto's paintings depicting canals in the mainland. Canaletto often travelled to the mainland to study the effects of light and colour on his canvasses.

The painting shows the busy life around the sluices with passenger's boats arriving ready to move across, with an officer standing by, ready to open the gates, and with a kid presumably fishing from the bridge.

The enveloping art ceramic interpretation of this painting is magistral; the reproduction is a beautiful example of ceramics work. Furthermore, when lit up, the images on the table lamp bring forward a nice softened light that gives the lamp a beautiful reflection.

Eton College Chapel, Windsor (1747, The National Gallery, London, UK)

This may not be the exact view of Eton College Chapel and surroundings in 1747, as some of the buildings may have been imaginatively added by Canaletto to give life to the Chapel itself. Canaletto also adds figures and vegetation to break up what would otherwise have been a canvas concentrating on just the Chapel subject.

The viewer is drawn from the darkened foreground on the lower left, up the salient element of the composition, in this case the Chapel. Also cross a river and with figures strolling, fishing and playing.

These elements have all been taken up and reproduced in the ceramic version of this painting. Together they create a nice scenery that runs round the table lamp smoothly and immensely softly.

Entry to the Canal Grande with the SS Maria della Salute basilic on the left (1732, FAI, Italy)

From the incidence of the light, students have suggested that this view depicts Venice at about 10 am in spring time, but Canaletto may have interpreted the light as he certainly interpreted some of the details of the buildings, most of which are nevertheless faithfully reproduced and still exist.

Impressive on the left, stands the church of SS Maria della Salute, a beautiful reminder of Venice's history. It is the accuracy of details (real and added) that most impresses the viewer, details that Canaletto did not disdain to add in his works so ensuring that his canvasses could be a potent reminder of the strength and beauty of Venice.

Viewers should perhaps note that our ceramics master takes up all of these details and actually enhances some even further. He maintains equilibrium and considering the difficulties he faces, keeps proportions very faithfully. This lamp is just a lovely reminder of Venice - to those who have been there -, and a spectacular present - for those who have not yet been.

Night party at the church of S. Pietro di Castello (1758, Gemaelde Galerie, Staatliche Museen zu Berlin, Berlin, Germany)

This is one of the rare Canaletto's views of Venice at night. The evening before the church's patron day, the square is animated by feasting people travelling to Saint Peter's (which is in the Castle island) by gondola. In this idyllic night some are playing instruments; others anticipate the festivities to come.

The ceramics equivalent of this important painting could not depict Venice at night. Our master interpreted the painting faithfully and very innovatively leaving the imagination of the night to the eyes of the beholder; see the candle lights in the windows of the main buildings and within the gazebo, and mixing colours imaginatively to depict Venice as it would have been in those days.

When lit up, this lamp fully reflects the light and the colours of the ceramics. It gives out a warmth that calms the spirit after a hard's day work.

The Canal Grande and the Bridge of Rialto (After 1735, National Gallery, Rome, Italy)

Canaletto rarely painted Rialto and when he did he preferred to paint it from a distance. This is one of the closest he ever went; making marvels of the geometry of the design and ensuring that the view of the canal was not too narrow by balancing the sky and the opening of the canal which, on this side of the bridge, closes somehow.

Our artist interpreted this painting in a masterly way. When an observer looks at the table lamp he feels projected into the view which so faithfully reproduces figures, gondolas and buildings. Consider the study and pains the ceramic master went through to measure the depth to the Rialto bridge and balance the overall view against a convex surface whilst maintaining proportions. Study the composition of the whole, the contrast between the blues of the water and those of the sky; all feats that had been deemed almost impossible until today.

Campo Saint John and Paul (circa 1739, Pinacoteca Gianni e Marella Agnelli)

Towards 1735, Bernardo Bellotto, nephew of Canaletto begins to work with his uncle who in the meantime has reached the peak of his fame. Bellotto faithfully reproduces paintings from his great uncle, so much so that experts could only begin to differentiate between the two at a much later time.

The merchant Smith probably requested Canaletto to paint the most significant churches in Venice in the late 1730's. He probably also involved Bellotto in the process. However, the present painting is undoubtedly one of Canaletto who, in those days, tried to reach new forms of perfection. Bellotto would have probably been in the shop for about one year by the time the painting was completed and, whilst he certainly learnt and copied the style and fluency of his master, he had not managed at that time, to achieve the same level of play with the "chiaroscuro", - the lighting effects.

The ceramics equivalent is a masterpiece on its own. Our ceramist excels himself as time goes by: just study the sky of the painting and how the turbulence is reported on the table lamp.

The Canal Grande towards Chiesa della Salute from Campo San Vito (1723, Museum Thyssen-Bornemisza, Madrid, Spain)

This is one of the more classical of Canaletto's vedute and one of his earliest. It was probably finished before 1723. Canaletto is still influenced by his "theatrical scenery" painting background and the necessary and dramatic use of colours, and this has been projected into this magnificent canvas. His style will change over the years and later paintings of the same subject show how much he moved towards early impressionism during his professional life.

Our enveloping art ceramics master reproduces the painting with great accuracy and precision and with his usual skills; the view flows smoothly across the irregular shape of the lamp; when observing the lamp from a close viewpoint the viewer may imagine his own presence in Venice. Lovely example of exceptional work.

Table Lamp

Table lamp decorated with the famous peacock's tail. The blue lamp shade adds beauty to the composition

Full dinner service "Umbria Bella (Beautiful Umbria)". Set of six dishes, round form, classical

Full dinner service. Six salad dishes (d = 8.7 in, h = 0.8 in.), six soup dishes (d = 9.8 in., h = 1.6 in.), six main course dishes (d 11 = in., h = 1.6 in.), and six large dishes (d = 12.6 in., h = 1.6 in.)

Fruit basket with snakes-like handles

Fruit basket entirely hand-made with magnificent snakes-like handles, finely crafted with dominant blue cobalt in the traditional XVI Century "Ricco Deruta" motif

Jug

Jug, reproduction XVI Century, Henderson

Notes to Segoloni's tableware section

Please be informed that transport costs for single or multiple units for replacement, are very variable and may be costly. To minimize costs it is convenient to send an email enquiry to the ceramist (segoloni@art1st.net) and follow the slow lane (manual purchasing process). This will allow the ceramist to quote you for the exact cost.

Full dinner service "Bella Umbria (Beautiful Umbria)", set of eigth dishes, round form, classical

Full dinner service "Bella Umbria". Eight salad dishes (d = 8.7 in, h = 0.8 in.), eigth soup dishes (d = 9.8 in., h = 1.6 in.), eigth main course dishes (d 11 = in., h = 1.6 in.), and eigth large dishes (d = 12.6 in., h = 1.6 in.)

Full dinner service "Umbria Bella (Beautiful Umbria)". Set of 12 dishes, round form, classical

Full dinner service "Umbria Bella". Twelve salad dishes (d = 8.7 in, h = 0.8 in.), twelve soup dishes (d = 9.8 in., h = 1.6 in.), twelve main course dishes (d 11 = in., h = 1.6 in.), and twelve large dishes (d = 12.6 in., h = 1.6 in.)

Dinner service "Fruit of Umbria", square form, set of six dishes

Dinner service "Fruit of Umbria", square form. Salad dish w = 8.3 in, h = 1 in., soup dish w = 7.5 in, h = 2.4 in., main course dish w = 10.2 in., h = 1.2 in.

Dinner service "Fruit of Umbria", square form. Set of eigth dishes

Dinner service "Fruit of Umbria", square form. Salad dish w = 8.3 in, h = 1 in., soup dish w = 7.5 in, h = 2.4 in., main course dish w = 10.2 in., h = 1.2 in.

Dinner service "Fruit of Umbria", square form. Set of 12 dishes

Dinner service "Fruit of Umbria", square form. Salad dish w = 8.3 in, h = 1 in., soup dish w = 7.5 in, h = 2.4 in., main course dish w = 10.2 in., h = 1.2 in.

Large main course dish "Bella Umbria"

Large main course dish "Bella Umbria" collection

Main course dish "Bella Umbria"

Main course dish "Bella Umbria" collection

Soup dish "Bella Umbria"

Soup dish "Bella Umbria" collection

Side dish "Bella Umbria"

Side dish "Bella Umbria" collection

Main course dish "Fruits of Umbria"

Main course dish "Fruits of Umbria" collection

Soup dish "Fruits of Umbria"

Soup dish "Fruits of Umbria" collection

Side dish "Fruits of Umbria"

Side dish "Fruits of Umbria" collection

Inkwell, end XV Century

A unique inkwell piece end of XV century, Deruta in maiolics. The inkwell has four feet and three chambers, the decoration is in style "compendario" with a seated lion finial painted in yellow and three high relief masks. This is a museum piece, unique in its form, design and rarity

Large Oval Dish, end XVI

Large oval dish decorated in turquise monocromy. An end XVI Century Deruta production by the "Master of the Regiment" decorated with a little angel, a rider, a music player, various architectures, naval scenes and growing branches. The composition is just beautiful and runs smoothly across the dish. The dish is in an almost perfect state. Very rare for its period.

Unusually decorated oval dish, XVI Century

Unusual oval dish with "rays" turquois monocrom decoration and at the centre a cupid. The piece is Deruta XVI Century and is a very rare and beautiful example of the use of simple colours to add dramaticy to the scene.

Alzata Decorated dish, depicting San Francisco, XVI Century

Deruta, XVI Century with San Francisco in the middle and decorated with geometrical, vegetal and "grottesco" motifs on the sides. The "alzata" in a nice example of an historic shape that was much used in the XVI century to present dried figs and other fruits at large gatherings

Salter, XVI Century

Salter in three footed maiolics with little angels at the extremities. This is a nicely shaped XVI Century Deruta production, very rare on todays' antiques marked. The colour decoration is especially beautiful

Small salter

Small triangular salter with three little angels and circular container. Its "calligraphic" decoration presents the painting of a bird on the base. This is a XVI Century Deruta production.

Sauceboat, XVI Century

Beautifully decorated saucer with "mascherone" (mask) finial. Decorated in the inside in the turquoise monocromy typical of the time and externally in yellow, ocre, manganese, cobalt blue and "copper" green. Deruta, XVI Century. This is a museum piece, of considerable rarity.

Deruta, XVI Century, depicting San Francisco

An enchanting dish made in Deruta, middle XVI Century. It is decorated on the sides with stylized birds and flowers. In the middle the figure of San Francisco. Note the simplicity of the drawing which reflects the simplicity of San Francisco himself.

Large pitcher with snake-like handles and a jotting out spout

Large pitcher with snake-like handles and a jotting out spout. The fully hand made object introduces a leaves motif spread in curls over a black background

Jug with half bell handles

Beautiful jug with half bell handles decorated with simple flowers that, in the top part are painted with a traditional Deruta design; the floreal motif is closed with a strip in yellow and orange

Jug with classical Deruta decoration

Jug painted with flowers and in a dominant blue cobalt colour. The decoration is disposed in hand worked flower chains

Wide neck jug

Large round jug with, on either side, two head masks that reflect the traditional carnival figures of the time. The decoration in on a blue background showing dragons on both sides and a central coat of arms, all realized on antique glaze

Gold-embossed high oval vase with flower design

Gold-embossed high oval vase with hand made flowers design on light blue background. The gold firing follows traditional Deruta standards

Jug, with traditional "Ricco Deruta" design

This beautiful jug carries the "Ricco Deruta" design and sees at its centre, between the two handles, a jotting out yellow usherette depicting a traditional mask

Molten Rock Tables

Molten rock tables are very heavy and require special transport. Each country has its own requirements. It is convenient for you to follow the "slow lane" (way no 2) buying procedure such that we can confirm the transport costs.

Molten Rock Table

A superb molten rock table with the world famous Taormina decoration, diameter 130 centimeters. The base is in galvanized wrought iron with twists and rounds

Molten Rock table

Oval molten rock table with madica decoration. Superb base in galvanized wrought iron.

The Holy Family

The Holy Family

Il Magnificat di Botticelli

The Magnificat of Botticelly, perticular, hanging painting

Painting with a representation of a female figure in Liberty style

Painting with a representation of a female figure in Liberty style